), pp. 15, 16.
19 Pierre Sorlin, ‘Cinema and the Memory of the Great War’, in Michael
Paris (ed.), The First World War and Popular Cinema, 1914 to the
Present (Edinburgh: Edinburgh University Press, 1999), p. 18.
20 Laura Marcus, ‘The Great War in Twentieth-Century Cinema’, in
Vincent Sherry (ed.), The Cambridge Companion to the First World
War (Cambridge: Cambridge University Press, 2005), p. 292.
21 See Nicholas Hiley, ‘The BritishCinema Auditorium’, in Karel Dibbets
and Bert Hogenkamp (eds), Film and the First World War (Amsterdam:
Amsterdam University Press
Chris Lippard and Guy Johnson, ‘Private Practice, Public Health: The Politics of Sickness and the Films of Derek Jarman’, in Fires Were Started: BritishCinema and Thatcherism , ed. Lester Friedman (Minneapolis: University of Minnesota Press, 1993), pp. 301–14 (p. 311). It is also quoted in part by Brophy, Witnessing AIDS , p. 32; Ellis, Angelic Conversations , p. 193; Peake, Derek Jarman , p. 442
According to McAleer: ‘Although … Romantic Fiction: The New Writers’ Guide
urged authors “Never set a whole book in a country you have not visited …”,
many successful Mills & Boon authors did just that’. Passion’s Fortune, p. 260.
10 E.H. Carter, Across the Seven Seas: The story of the British Commonwealth and
empire (London: Thomas Nelson and Sons, 1954, pp. v–vi).
11 Official website of the British Monarchy, www.royal.gov.uk (accessed
12 Christine Geraghty, BritishCinema in the Fifties: Gender, genre and the ‘New Look’
(London: Routledge, 2000
commonly used meaning of the term.
7 J. E. Kingsley-Smith, ‘Shakespearean Authorship in Popular BritishCinema’, Literature/Film Quarterly , 30:3 (2002), 158–65, 163, n. 1 .
8 K. Scheil and G. Holderness, ‘Introduction: Shakespeare and “the Personal Story”’, Critical Survey , 21:3 (2009), 1–5, 2–3 .
9 See Murray-Pepper, ‘The “Tables of Memory”’ .
10 K. Elliott, ‘Screened Writers’, in Cartmell (ed.), A Companion to Literature, Film, and Adaptation , pp. 179–97, p. 193 (italics in original) .
11 Kingsley-Smith, ‘Shakespearean Authorship in Popular
Surreal Englishness and postimperial Gothic in The Bojeffries Saga
English Gothic Cinema 1946–1972 (London: Gordon
Fraser, 1973 ), pp. 21–2.
Andrew Spicer, ‘Occasional
Eccentricity: The Strange Course of Surrealism in BritishCinema’, in The Unsilvered Screen: Surrealism on
Film , ed. Graeme Harper and Rob Stone (London
popular subgroup of British-Asian films in the United Kingdom has garnered a huge following, even beyond their primary audiences, especially in the twenty-first century. As Dwyer emphasises the mixed cultural upbringing of the younger generation of British-Asian audiences who ‘have mainly been socialised in Britain’ and ‘have grown up with Hollywood and Britishcinema and British television and other British media’, 30 we may begin to understand why recent British-Asian cinema appears to be more successful at combining Bollywood and Hollywood elements into a natural
which women have moved into
33 Geoff Mayer, Guide to BritishCinema (Westport, CT: Greenwood Press, 2003), 366–8.
34 In ‘Virgin Territory’, The Virgin Queen (2008).
36 Jay Matthews terms D-Day: The Sixth of June one of the three best films about D-Day.
See ‘Battle to Buy D-Day Movie’, Washington Post, 3 June 1994, N63. Further, Melanie
Williams notes that Todd’s war films were seen as a ‘mainstay of British national cinema’.
See ‘The Most Explosive Object to Hit Britain Since the V2!’ Cinema Journal 46 (2006),
85–107. See D-Day: The Sixth of June. Dir
horror innovations to exhaustion. In the introduction to his book-length study on British horror cinema, Peter Hutchings quotes from a 1964 British press clipping which sums up Hammer’s lowbrow reputation with the critical press during the studio’s heyday:
Certain branches of the Britishcinema are able to weather any crisis: they do not so much rise above it as sink beneath it, to a subterranean level where the storms over quotas and television competition cannot affect them. This sub
), ‘Ellen Terry Creating the Brand’, in Katharine Cockin,
ed., Ellen Terry, Spheres of Influence, London: Pickering and Chatto, pp.
Cockin, Katharine (2017), Edith Craig and the Theatres of Art, London:
Bloomsbury Methuen Drama.
Davis, Tracy C. (2009), ‘Nineteenth-Century Repertoire’, Nineteenth Century
Theatre and Film, 36.2, pp. 6–28.
Gledhill, Christine (2003), Reframing BritishCinema 1918–28: Between Restraint
and Passion, London: British Film Institute.
Gottlieb, Robert (2010), Sarah: The Life of Sarah Bernhardt, New Haven, CT:
Yale University Press.
, London: Hodder and Stoughton.
Jeffreys, Sheila (1985), The Spinster and Her Enemies: Feminism and Sexuality
1880–1930, London: Pandora.
Jones, Mervyn (1959), ‘South American Casino’, Observer, 7 June, p. 22.
Keown, Eric (1953), ‘At the Play’, Punch, 4 March, p. 305.
Keown, Eric (1956), Margaret Rutherford, London: Rockliff.
Kretzmer, Herbert (1966), ‘Rutherford, Richardson … a Must for the Devotees’,
Daily Express, 7 October, p. 4.
Macnab, Geoffrey (2000), Searching for Stars: Rethinking BritishCinema,
Merriman, Andy (2009), Margaret Rutherford